The Milken Archive of American Jewish Music AMERICAN CLASSICS

AMERICAN CLASSICS DAVID STOCK YEHUDI WYNER

The Mirror

Passover Offering Tants un Maysele A Little Miracle featuring renowned soloists, including: Richard Stoltzman, clarinet Daniel Stepner, violin Carol Wincenc, flute Elizabeth Shammash, mezzo-soprano Ronald Thomas, cello Rundfunk-Sinfonieorchester Berlin Gerard Schwarz, conductor

8.559423 8.559440 Yizkor YEHUDI WYNER MAX HELFMAN THE MIRROR DI NAYE HAGODE Seattle Symphony Gerard Schwarz, conductor AMERICAN CLASSICS

GERSHON KINGSLEY Y’rusha Voices from the Shadow Soloists: Amy Goldstein Mary Catherine George Larry Picard Tekiah Matthew Walley

Jazz Psalms Shabbat for Today(excerpts) Richard Stoltzman, clarinet Shiru Ladonai(excerpts) Soloists: Lisa Vroman Cantor Howard M. Stahl Stephen Burns, trumpet Harry Goz

The Kingsley Singers and Ensemble Gershon Kingsley, conductor Pittsburgh New Music Ensemble David Stock, conductor

8.559435 8.559444 GERSHON KINGSLEY JUDITH LANG ZAIMONT VOICES FROM THE SHADOW SACRED SERVICE

View all current Milken Archive releases at www.milkenarchive.org The complete Naxos American Classics catalog available at www.naxos.com

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A MESSAGE FROM THE MILKEN ARCHIVE FOUNDER Credits Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution The Milken Family Foundation was established by brothers Lowell and Michael Milken in 1982 with the mission to discover and seeking to take part in a visionary democratic society, their experiences found voice in their music. The and advance inventive, effective ways of helping people help themselves and those around them lead productive and sacred and secular body of work that has developed over the three centuries since Jews fi rst arrived on these satisfying lives. The Foundation advances this mission primarily through its work in education and medical research. shores provides a powerful means of expressing the multilayered saga of American Jewry. For more information, visit www.milkenarchive.org. While much of this music had become a vital force in American and world culture, even more music of specifi cally Jewish content had been created, perhaps performed, and then lost to current and future MILKEN ARCHIVE MILKEN ARCHIVE EDITORIAL BOARD generations. Believing that there was a unique opportunity to rediscover, preserve and transmit the collective memory contained within this music, I founded the Milken Archive of American Jewish Music in 1990. Lowell Milken, Founder Neil W. Levin Neil W. Levin, Artistic Director; Editor in Chief Paul W. Schwendener The passionate collaboration of many distinguished artists, ensembles and recording producers over the past fourteen years Richard V. Sandler, Executive Director Samuel Adler has created a vast repository of musical resources to educate, entertain and inspire people of all faiths and cultures. The Milken Archive of American Jewish Music is a living project; one that we hope will cultivate and nourish musicians and enthusiasts of Paul W. Schwendener, C.O.O., A&R Advisor, and Director of Marketing Ofer Ben-Amots this richly varied musical repertoire. Lawrence Lesser, Production Director Martin Bookspan Rebecca Rona, Administrative Director Cantor Charles Davidson Gina Genova, Associate Director of Research; Associate Editor Henry Fogel Lowell Milken Bonnie Somers, Communications Director Lukas Foss A MESSAGE FROM THE ARTISTIC DIRECTOR Jules Lesner, Archive Committee Rabbi Morton M. Leifman Eliyahu Mishulovin, Research Associate and Translator Gerard Schwarz Maxine Bartow, Editorial Consultant Edwin Seroussi The quality, quantity, and amazing diversity of sacred as well as secular music written for or inspired by Jewish life in America is one of the least acknowledged achievements of modern Western culture. The time is ripe for a wider awareness and appreciation of these various repertoires—which may be designated appropriately The Milken Archive of American Jewish Music would not be possible without the contributions of hundreds of as an aggregate “American Jewish music.” The Milken Archive is a musical voyage of discovery encompassing more than 600 original pieces by some 200 composers—symphonies, operas, cantorial masterpieces, complete gifted and talented individuals. With a project of this scope and size it is diffcult to adequately recognize the valued synagogue services, concertos, Yiddish theater, and folk and popular music. The music in the Archive—all born contribution of each individual and organization. Omissions in the following list are inadvertent. Particular gratitude of the American Jewish experience or fashioned for uniquely American institutions—has been created by is expressed to: Gayl Abbey, Donald Barnum, Paul Bliese, Johnny Cho, Cammie Cohen, Jacob Garchik, Ben Gerstein, native American or immigrant composers. The repertoire is chosen by a panel of leading musical and Judaic Jeff Gust, Scott Horton, Jeffrey Ignarro, Brenda Koplin, Richard Lee, Joshua Lesser, Gustavo Luna, Malena Luongo, authorities who have selected works based on or inspired by traditional Jewish melodies or modes, liturgical and life-cycle functions and celebrations, sacred texts, and Jewish history and secular literature—with Tom Magallanes, Todd Mitsuda, Gary Panas, Nikki Parker, Jill Riseborough, Maria Rossi, Matthew Stork, and Brad Sytten. intrinsic artistic value always of paramount consideration for each genre. These CDs will be supplemented later by rare historic reference recordings. PHOTO CREDITS: Page 3, Suellen Fitzsimmons. Page 16 (left), Christian Steiner; (right), Saverio Truglia. Page 17 (left), The Milken Archive is music of AMERICA—a part of American culture in all its diversity; it is JEWISH, as an expression of Jewish John Pearson. Page 18 (left), Seattle Symphony in Benaroya Hall, photo by Fred Housel; (right), Yuen Lui Studios. tradition and culture enhanced and enriched by the American environment; and perhaps above all, it is MUSIC—music that transcends its boundaries of origin and invites sharing, music that has the power to speak to all of us.

Neil W. Levin

Neil W. Levin is an internationally recognized scholar and authority on Jewish music history, a professor For purchasers of this CD, these liner notes are available in a large-page format. of Jewish music at the Jewish Theological Seminary of America, music director of Schola Hebraeica, and Address requests to [email protected] author of various articles, books, and monographs on Jewish music. 23 8.559422 Stock_LinerNts 9422.indd, Spread 3 of 12 - Pages (22, 3) 3/22/06 11:37 AM

Alliance of Composers, directed the WQED- Credits About the Composers FM New Music Project, and written for such prestigious academic journals as Perspectives DAVID STOCK was DAVID STOCK (b. 1939) Tekiah (1987) of New Music. Publisher: Norruth Music, Inc. / MMB Music Publishing Inc. born in 1939 in Produced by Mark Yacovone Pittsburgh, where he A Little Miracle (1997) Stock’s music has been performed throughout Publisher: Norruth Music, Inc. / MMB Music Production Assistants: Jeffrey Stock, Rossen Milanov continues to make the United States and Europe, and in England, Publishing Inc. Recording Engineer: Riccardo Schulz his principal home. Mexico, Australia, and Korea. Among his most Recording: Jesus Christus Kirche, Berlin, Germany, Assistant Engineers: Raymond Chick, Harold Walls He studied trumpet prized commissions are Kickoff, which was April 2000 / October 2001 Editing: Pittsburgh Digital Recording & Editing and composition with premiered by the New York Philharmonic, Recording Producer: Wolfram Nehls Company Nikolai Lopatnikoff Recording Engineers: Martin Eichberg / Henri Thaon Mastering: Francisco J Rodriguez, conducted by Kurt Masur during the and Alexei Haieff at Assistant Recording Engineers: Susanne Beyer / Sylvia Digital Dynamics Audio, Pittsburgh, PA orchestra’s 150th anniversary season, and his the Carnegie Institute Milchmeyer Recording: Levy Hall, Rodef Shalom Temple, violin concerto, which received its premiere of Technology (later Recording Project Manager: Paul Schwendener Pittsburgh, PA, February 27, 1992 performance by Andrés Cárdenes and the Carnegie Mellon University), where he received Pittsburgh Symphony under Lorin Maazel’s Yizkor (1999) Y’rusha (1986) his bachelor of fi ne arts degree in 1962 and baton—for its 100th anniversary celebrations. Publisher: Norruth Music, Inc. / MMB Music Publishing Inc. Publisher: Norruth Music, Inc. / MMB Music Publishing Inc. his master of fi ne arts degree a year later. He Other signifi cant works include Available Light Recording: Benaroya Hall, Seattle, WA, May 1999 Produced by Mark Yacovone earned another master’s degree at Brandeis (1995) and American Accents (1983), both for Recording Producer: Adam Stern Production Assistants: Jeffrey Stock, Rossen Milanov University, studying with Arthur Berger. He has chamber orchestra; A Joyful Noise (1983) and Recording Engineer: Al Swanson Recording Engineer: Riccardo Schulz also studied at the École Normale de Musique Recording Project Managers: Paul Schwendener / Assistant Engineers: Raymond Chick, Harold Walls Inner Space (1973), for full symphony orchestra; in Paris and at the Berkshire Music Center. Neil Levin Editing: Pittsburgh Digital Recording & Editing fi ve symphonies; six string quartets; many Company chamber pieces for a variety of combinations, Cofounder and conductor laureate of the Mastering: Francisco J Rodriguez, such as Triple Play (1970), Dreamwinds (1975), Digital Dynamics Audio, Pittsburgh, PA Pittsburgh New Music Ensemble, Stock has The Philosopher’s Stone (1980), Parallel Recording: Levy Hall, Rodef Shalom Temple, been composer-in-residence at the Pittsburgh Worlds (1984), Keep the Change (1981), and Pittsburgh, PA, August 10, 1992 Symphony Orchestra and the Seattle Sulla spiaggia (1985); and such miscellaneous Symphony, and in 1992 he was chosen by works as Nova (1974) for wind band and the Pittsburgh Cultural Trust to receive its The Body Electric (1975) for amplifi ed double Creative Achievement Award for “outstanding bass, woodwinds, and percussion. He has also established artist.” As a devoted champion of written several fi lm and broadcast scores. music by contemporary American composers, he has served as chairman of the Pittsburgh 8.559422 22 3 8.559422 Stock_LinerNts 9422.indd, Spread 4 of 12 - Pages (4, 21) 3/22/06 11:37 AM

By the 1970s Stock had come to realize the Endowment of the Arts and the Pennsylvania need for fi nding a middle ground between Council on the Arts; and numerous grants new music that challenges its listeners and and commissions from the Ella Lyman Cabot music that is nonetheless capable of resonating Trust, the Paderewski Fund for Composers, the with the sensibilities of audiences not confi ned Barlow Endowment, Boston Musica Viva, and Leonard Bernstein to so-called contemporary music afi cionados. the Koussevitzky Music Foundation, as well as A JEWISH LEGACY He dedicated his energies to increasing from a number of orchestras—including the the public’s appreciation for new music, Cincinnati Symphony and the St. Paul Chamber developing a strategy he calls “rediscovery of Orchestra. the audience.” One of his related goals has “The most illuminating been to render serious new music attractive to Stock’s guest conducting appearances have Bernstein recording young audiences, as exemplifi ed by two of his included the Silesian Philharmonic (Poland), works for youth orchestras: Zohar (1978), whose Foro Internacional de Música Nueva (Mexico), in years . . .” title and program derive from Jewish mystical Eclipse (Beijing), the Pittsburgh Symphony, the 8.559407 literature, and Trifl umena (1978). As important Chautauqua Symphony, the Cleveland Chamber —Newark Star Ledger infl uences on his art, Stock credits such diverse Symphony, the American Dance Festival, the sources as Stravinsky, Hebrew liturgy, and jazz, Baltimore Symphony, and many others. the last of which is well illustrated in one of his best-known works, Scat. Manny Theiner, Program Notes in his article “The Music of David Stock” from Leonard Bernstein the CD notes for Taking Stock (Northeastern), KADDISH SYMPHONY NO. 3 appropriately assessed his music as “well- A LITTLE MIRACLE defi ned, with clear shapes, driving rhythms, and CHICHESTER PSALMS and bright colors and timbres.” Stock’s dramatic cantata for mezzo-soprano and chamber orchestra, A Little Miracle, has “An excellent pairing Stock has taught on the faculties of the been described by its librettist, Bess Weldon, Cleveland Institute of Music, the New England as an “operatic monodrama.” The story is her and a fabulous disc.” Conservatory, Antioch College, the University own creation, but it plays out against the very of Pittsburgh, and Duquesne University. He real and familiar theme of parent and child —Victor Carr, Jr., ClassicsToday.com is the recipient of a Guggenheim Fellowship; hiding and attempting to escape during the 8.559456 several fellowship grants from the National German war of annihilation against Europe’s

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University, the University of Puget Sound, and many of which were written especially for Jews. Here, the tale is woven around the dual members of the Polish underground resistance Seattle University. In 2000 he was made an them. The Ensemble has further supported miracle of birth itself and of survival through who are willing to hide Jews. During that honorary fellow of John Moores University in emerging composers by sponsoring the Harvey the faith and courage sustained by the memory virtual imprisonment, when they could be Liverpool, and in 2002 he received the ASCAP Gaul Composition Contest and the Composer’s of a mother’s song. discovered at any moment, Tova is sustained award for his outstanding contribution to Forum of Music Lives! The Pittsburgh only by her recollection and repetition of a American contemporary music. Schwarz was a International Music Festival. The Ensemble Before the war, Tova and her husband, Yaakov, Yiddish lullaby that her mother sang to her founding member of Music of Remembrance, tours throughout Pennsylvania and the United lived in a town somewhere in Poland, sharing as a child. The song calms her and her child an organization dedicated to remembering States, introducing students of all ages to new their living quarters with her parents. When and gives her courage to continue eluding her Holocaust musicians. In 2004 he was nomi- music and bringing world-class concerts to the Germans forced the Jewish population pursuers and ultimately to survive. And Tova nated by President George Bush to serve on enthusiastic audiences at Carnegie Hall as well into one of the ghettos they constructed as credits the song—and its embodiment of her the National Council on the Arts, the advisory as at high school auditoriums. Stock and the concentration depots for ultimate deportation murdered mother’s spirit—with saving her body of the National Endowment for the Arts. Ensemble have collaborated with Dance Alloy, to the camps, her father refused to go, and Rosa: “I am saved by a miracle, a simple the Oratorio Society, the Opera Theatre of preferring to remain behind and face certain song.” * * * * Pittsburgh, the Pittsburgh Dance Council, and death. In the cramped quarters of the ghetto, The 1976 brainstorm of composer David Stock, the Pilobolus Dance Theater. They have served Tova gives birth to Rosa—her “little miracle”— Commissioned by the Mary Flagler Cary Trust, the PITTSBURGH NEW MUSIC ENSEMBLE as presenters of such exceptional talents in the midst of the surrounding “decay and Stock composed A Little Miracle expressly for (PNME) was organized and backed by a as Ornette Coleman and Prime Time, the destruction,” which is punctuated by the mezzo-soprano Vivica Genaux, with whom small group of people committed to creating Kronos Quartet, and HET Trio. The Ensemble sound of nightly gunshots. With simplicity and he had worked during her student days at something new in the arts. The Ensemble, is composed of the following musicians: Craig judicious economy, the libretto describes the Duquesne University. She sang its premiere at in residence at Duquesne University, has Johnson, fl ute, alto fl ute; David Tessmer, fl ute; deteriorating situation in the ghetto as fellow Lincoln Center in New York in 1999 with the collaborated with such composers as John Linda George-Fountain, oboe, English horn; Jews are murdered and as the population New York Chamber Orchestra, conducted by Cage, Milton Babbitt, Witold Lutoslawski, James Wilson, clarinet, bass clarinet; Ivan dwindles with the deportations. Apparently Gerard Schwarz. Joan Tower, John Harbison, William Kraft, and Engel, bassoon; John Scandrett, horn; Wesley knowing that their turn is imminent, Tova, Ellen Taaffe Zwilich, and with performers as Ward, trumpet, fl ügelhorn; Glenn Wayland, Yaakov, and their baby, together with Stock, having determined that he wanted to diverse as Richard Stoltzman, Stephen Burns, trombone; Beverly Nero, piano, synthesizer; her mother, Berta, hide at fi rst in a closet write a Holocaust-related piece, discussed Ivan Monighetti, Vladimir Feltsman, the String Lucy Scandrett, harp; Jan Fung, percussion, [cupboard]. But as Yaakov and Berta make some ideas with Bess Weldon—an actress, Trio of New York, Leroy Jenkins, and Jean-Luc synthesizer; George Willis, percussion; Raymond preparations for the family’s escape, they writer, drama teacher (at Vassar College Ponty. Young composers often share the bill Eichenmuller, violin; Gail Picha, violin; Florence are shot. Tova manages to fl ee with Rosa to since 1997), and close friend of his daughter with recognized giants, appearing onstage to Ohlberg, viola; Martin Bernstein, cello; Jeffrey an apparently prearranged location, where Rachel Stock Spilker (now a cantor in St. Paul, speak about their music before it is performed. Mangone, bass, electric bass. Eva Tumiel-Kozak the two are hidden in a stifl ing farmhouse Minnesota, as is his daughter Sara Stock Mayo PNME has premiered more than 100 works, is the executive director. basement—presumably by local partisans or in Pittsburgh and his son, Jeffrey, in Haverhill, 8.559422 20 5 8.559422 Stock_LinerNts 9422.indd, Spread 6 of 12 - Pages (6, 19) 3/22/06 11:37 AM

Massachusetts). “I told her what kind of work Traditionally, yizkor has been observed Vacchiano, longtime principal trumpet of Today” Contemporary Music series in New I wanted to write,” he later recalled, “and chiefl y with respect to one’s parents, often the New York Philharmonic. He played in the York, serving as its music director until 1989. within a few days she had devised the general in conjunction with pledges of charitable American Brass Quintet (1965–73), with which He made his Philadelphia Orchestra debut in story plan.” Weldon’s text was then inspired donations to honor their memory. But one he toured internationally; in the American 1982 in a program of music by George Perle, by actual stories of Holocaust survivors, as well may elect to recite yizkor in memory of others Symphony Orchestra under Stokowski (1966– Mozart, Shostakovich, and Hindemith, and as by related fi ction and poetry. “Her writing as well. Indeed, many 20th- and 21st-century 72), in the Aspen Festival Orchestra (1969–75); that year he became director of Lincoln Cen- was so inspiring,” says Stock, “that the music prayerbooks, including some with traditional and in the Casals Festival Orchestra (1973). ter’s Mostly Mozart Festival, which he had fi rst seemed to compose itself.” The events of the formats, provide for such additional yizkor Completing his training as virtuoso trumpeter conducted in 1978. In the course of two de- story are related by Tova as a fi rst-person recitation for children, siblings, spouses, other at The Juilliard School, he received his bach- cades he brought the Mostly Mozart orchestra narrator, but, where indicated, she also sings relatives, and even friends. There are also elor’s degree in 1972 (later also his master’s to the Tanglewood and Ravinia festivals and in the name of her mother and her young memorial prayers for collectively martyred degree) and promptly joined the New York on annual tours to Japan as well as PBS Live daughter. A Little Miracle is dedicated jointly fellow Jews (viz., those who were murdered Philharmonic the following year, succeeding from Lincoln Center telecasts; and in 2002 he to those who were murdered by the Germans because they were Jews), especially, since Vacchiano as co–principal trumpet. became its emeritus conductor. and to those who survived. the second half of the 20th century, those who were slain by the Germans during the Within a few years Schwarz found himself In 1983 Schwarz was appointed music advisor Holocaust. Soldiers who have given their increasingly attracted to conducting, having of the Seattle Symphony, and he was named lives on behalf of the State of Israel are also made his debut as early as 1966 with the Erik principal conductor the following year. Dur- YIZKOR sometimes remembered within contemporary Hawkins Dance Company, which he served for ing his tenure in Seattle he has brought the yizkor services. a time as music director, and having meanwhile orchestra worldwide acclaim. In 2001 Schwarz The title of Yizkor (lit., May He [God] also conducted the Eliot Feld Dance Company also became music director of the Royal Liver- Remember), Stock’s single-movement elegy Originally, the yizkor service was confi ned to and the Waterloo Festival. In 1977 he resigned pool Philharmonic, one of the world’s oldest for string orchestra, refers to the name of the Yom Kippur. Its introduction on the holiest of from the Philharmonic to pursue a full-time orchestras, whose list of previous conductors formal Jewish memorial service for specifi c days may be linked historically to the opening podium career and began an impressive list includes such eminent fi gures as Max Bruch, relatives (hazkarat n’shamot—remembrance passage of the morning service Torah reading, of achievements that have brought him con- Sir Malcolm Sargent, Sir Thomas Beecham, of souls). This service is conducted communally, which refers to the death of Aaron’s two sons ducting renown. In 1977 he cofounded the and Sir Charles Groves. but recited individually, among Ashkenazi (Leviticus 16). One theory also holds that it New York Chamber Symphony (originally the Jews on four occasions on the liturgical was instituted as a spiritual vehicle to induce “Y” Chamber Symphony), serving as its music In 1994 Schwarz was named Conductor of the calendar—usually within the morning Torah deeper repentance on the Day of Atonement director for twenty-fi ve seasons. From 1978 to Year by Musical America. His many other hon- service, before returning the scrolls to the ark. by invoking the memory of one’s parents 1985 he was music director of the Los Angeles ors include the Ditson Conductors Award from Those four occasions are Yom Kippur and the and resolving to honor them by mending Chamber Orchestra, with which he made many Columbia University and honorary doctorates last days of each of the Three Festivals (Sukkot, one’s ways. The custom of praying for the recordings. 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orchestra, either as conductors or soloists, them featuring American repertoire—and departed on Yom Kippur and Festivals was The piece—which proceeds as a tonal among them Hindemith, Honegger, Milhaud, ten Grammy nominations to its credit. In opposed by some leading medieval scholars refl ection of the mix of solemnity, reverence, Prokofi ev, Strauss, Schoenberg, Stravinsky, addition to its regular concerts, the Seattle and authorities (notably Hai Gaon and Nissim sad-heartedness, sorrow, and ultimate Weill, and Zemlinsky—and more recently Symphony presents a broad spectrum of Gaon). They stressed the conviction that only acceptance that might typically characterize a Krzysztof Penderecki, Sir Peter Maxwell Davies, other series, including Basically Baroque, Light worthy deeds of the departed during their yizkor service—opens with a melody in minor Berthold Goldschmidt, and Udo Zimmermann. Classics, Seattle Pops, Discover Music!, Tiny lifetimes—not deeds or words of atonement that seems defi ned by its overall descending Since 1956 the orchestra has performed in Tots, Distinguished Artists, and Music of Our by their descendants on their behalf—are of contour. That initial thematic-melodic material twenty countries, including China and Japan. It Time. Seattle Symphony musicians began their consequence before God. Nonetheless, this sounds at fi rst against a calm drone of open also records extensively for DeutschlandRadio, association with the Seattle Opera in 1973. practice gained special signifi cance during fi fths, followed by harmonies in parallel founded in 1994, and many of its recordings In 1981, led by Rainer Miedél, the orchestra the Crusades and the waves of persecution progression—suggestive of traditional canto- have been awarded the German Record made its fi rst European tour. Gerard Schwarz, in Europe in the following centuries, and by rial chant against typically sustained choral Critics’ Prize. In 2002 Marek Janowski suc- music director since 1985, has brought the the 17th or 18th century, hazkarat n’shamot, underpinning with a hint of antiquity. A ceeded Rafael Frühbeck de Burgos as principal orchestra to new international acclaim. It now or yizkor, had become a fi rmly rooted part of second theme, this time with an ascending music director. makes its home in Benaroya Hall, which was the Ashkenazi synagogue ritual for the Three melodic contour, serves as counterpoint to inaugurated in 1998 and has been praised for Festivals as well as for Yom Kippur. the fi rst, and the interplay between the two its architectural and acoustical beauty. provides the basic substance of the piece. The The word yizkor is derived from the text incipit overall spirit becomes appropriately resolute GERARD SCHWARZ of the principal prayer of the service: yizkor at the conclusion, with its widely spaced major was born in Wee- elohim nishmat … (May God remember the chord in the fi nal measures perhaps echoing— hawken, New Jersey, soul of …). The individual private recitations whether deliberately or subconsciously on in 1947. He began of yizkor may be preceded by optional Psalm the part of the composer—the faith inherent trumpet lessons at the verses and readings. Following those yizkor in the concluding line of the yizkor text itself age of eight and recitations, the service concludes in many if not (May his/her soul be bound up in the bond of attended the National most Ashkenazi synagogues with the prayer el life...), and in the text of el malei rah.amim Founded in 1903 by violinist-conductor Harry Music Camp in male rah.amim (God, who is full of mercy), which (Keep his/her soul alive forever under Your West, the SEATTLE SYMPHONY is now the Interlochen, Michigan, is intoned by the cantor or prayer leader. In the protective wings ...). oldest and largest cultural institution in the and New York’s High Sephardi rites, each of those who are accorded Pacifi c Northwest. Recognized for its bold School of Peforming the honor of being called up to the Torah—to Yizkor is an orchestral adaptation of the second and innovative programming, with the Arts (now La Guardia High School of Music recite the benedictions in connection with its movement from the composer’s Fourth String inclusion of much new music, it is also one and Art and Performing Arts). From 1962 reading—recites a memorial prayer for his Quartet. It received its premiere performance of the world’s most recorded orchestras, to 1968 he studied trumpet with William relatives after pronouncing the benedictions. in 1999 at the Western Slope Music Festival, in with more than eighty-fi ve discs—many of 8.559422 18 7 8.559422 Stock_LinerNts 9422.indd, Spread 8 of 12 - Pages (8, 17) 3/22/06 11:37 AM

Crested Butte, Colorado, where it was played in terms of overall effect, with little actual Clarinetist RICHARD Stoltzman’s discography numbers about fi fty by the festival orchestra under the baton of reference to the emblematic intervals of shofar STOLTZMAN, one releases, including the Grammy-winning Imre Palló. calls. The most obvious refl ection of shofar of the most sought- recording of the Brahms sonatas with Richard patterns is heard in the recurring successions after concert artists Goode, and trios of Beethoven, Brahms, and of rapid and repeated staccato and staccato- of our time, was Mozart with Emanuel Ax and Yo-Yo Ma. In TEKIAH like fi gures—especially in the fi rst and third born in 1942 in September 2005 Stoltzman was presented movements—which recall, in combination, two Omaha, Nebraska, with the prestigious Sanford Medal by the Yale other characteristically sputtered shofar calls, the son of a jazz- School of Music. During the 2005–06 season, Stock’s Tekiah [t’ki’a], is a three-movement sh’varim and t’ru’a, even more than recalling playing railwayman. Stoltzman premiered David Stock’s Clarinet work for trumpet and chamber orchestra. t’ki’a itself. These dry, galloping, and swiftly Stoltzman graduated Concerto with the Pittsburgh Youth Symphony The word tekiah translates from the Hebrew paced fi gures are developed and transformed from Ohio State Orchestra. literally as “sounding,” but it is most commonly continuously in a motoric, ever-evolving, University with a degree in music and associated with the sounding, or blowing, almost neo-Baroque pitter-patter, requiring a mathematics, earned his master of music of the shofar and its required hearing on highly skilled trumpeter. “As a former trumpet degree at Yale University, and later worked Rosh Hashana (notwithstanding the various player,” Stock has explained, “I wanted to toward a doctoral degree at Columbia functions of the shofar on other occasions, both challenge the soloist to the limit, while still University. As soloist with more than a hundred historically and in contemporary usage). More staying within the bounds of mainstream orchestras and chamber and jazz ensembles, specifi cally, t’ki’a is the name of one of the trumpet technique.” Stoltzman has defi ed categorization, and his three plaintive call patterns—mostly outlining unique way with the clarinet has opened up the interval of a perfect fi fth—according to In the more lyrical, songlike second movement— new possibilities for the instrument. He gave which the shofar is blown on Rosh Hashana and which contains within it a short-lived scherzo— the fi rst clarinet recitals ever in both the at the conclusion of Yom Kippur. The ordinary muted trumpet passages lend a blues ambience. Hollywood Bowl and Carnegie Hall and has (short) t’ki’a ends abruptly. The prolonged This leads directly to the playful third movement, performed or recorded with such jazz and t’ki’a g’dola (great t’ki’a), employed as a The RUNDFUNK-SINFONIEORCHESTER BERLIN which is built largely on the stuttered single-pitch pop luminaries as Gary Burton, the Canadian fi nale to a series of shofar blasts, is generally (Berlin Radio Symphony Orchestra) was triplet motive presented at the outset. Brass, Chick Corea, Judy Collins, Eddie Gomez, sustained to the limits of the blower’s breath. founded in 1923 as the fi rst radio Keith Jarrett, the King’s Singers, George orchestra in Germany. Its repertoire spans Tekiah was composed at the MacDowell Colony Shearing, Wayne Shorter, and Mel Tormé. In Stock’s mercurial frolic here through the more than three centuries, but since its and in Pittsburgh in 1987, on commission from His commitment to new music has resulted in minefi elds of virtuoso display and agile founding, the ensemble has been especially the Three Rivers Arts Festival, during whose numerous new concertos and sonatas for the tonguing techniques, the trumpet might be dedicated to contemporary works. Many of 1988 season it was premiered by Stephen Burns clarinet, including works by Steve Reich, Lukas perceived as a modern incarnation of the the greatest composers of the 20th century and the Pittsburgh New Music Ensemble. Foss, Donald Erb, Takemitsu, and Rautavaara. ancient shofar—but only as a departure point have performed their own music with this 8.559422 8 17 8.559422 Stock_LinerNts 9422.indd, Spread 9 of 12 - Pages (16, 9) 3/22/06 11:37 AM

Born in Wellesley Hills, Massachusetts, trumpet Apart from such klezmer-associated and About the Performers virtuoso STEPHEN BURNS has been acclaimed fl avored material, there are also quotations for his accomplished and widely varied recit- Y’RUSHA from well-known Jewish songs. Among them The daughter of a als, concerto appearances, chamber ensemble is Di grine kuzine (The Greenhorn Cousin), mother with roots in engagements, and innovative multimedia Y’rusha (Hebrew for “inheritance” or “heritage”) the once-famous Yiddish popular song and Latvian Jewry, and a presentations involving video, dance, and is a cleverly fashioned divertissement of unre- fi xture of the Yiddish vaudeville and music Baghdad-born father of sculpture. In September of 1988 he won fi rst lated melodic and modal references, tune hall milieu believed to have been written in Babylonian Jewish tradi- prize at the second Maurice André Interna- shards, and instrumental idioms derived mostly New York in 1921 by the illustrious bandleader tion who emigrated to tional Competition for Trumpet in Paris, which from the perceived melos of eastern European Abe Schwartz, with lyrics, according to the America, mezzo-soprano brought him international recognition. Burns Jewry and its immigrant generation in America. prevailing copyright, by Hyman Prizant. (Jacob ELIZABETH SHAMMASH has performed in the major concert halls of Stock has imagined these as a single collective Leiserowitz [Yankele Brisker] persisted in his earned a bachelor’s four continents. He has been a guest at the representation of one particular aspect of claim to authorship of the words, even though degree in Italian studies White House and has appeared on NBC’s Today Jewish musical y’rusha. The work, for clarinet his lawsuit to that effect failed.) Di grine from Brown University (including a year of show and NPR’s All Things Considered. He has solo and an ensemble of seven instruments, is kuzine is a humorous song, but it also became study at the University of Bologna in Italy), an served on the faculty at the Manhattan School permeated by sighs, wails, slides, exaggerated one of the best-known expressions of immi- artist diploma from Boston University’s Opera of Music and is a former tenured professor portamento effects, and other clichés emblematic grant disillusionment over the unanticipated Institute, and a master’s degree in music at Indiana University. Mr. Burns directs the of the performance styles and techniques of 19th- economic hardships in the “new land.” At and voice performance from the Manhattan Montreaux Open International Trumpet and early-20th-century Jewish wedding-band the same time, it encouraged a fashion of School of Music. Her opera credits include Academy and is also the artistic director of the musicians known as klezmorim (sing., klezmer). lighthearted songs about “greenhorns”— the role of Idamante in Mozart’s Idomeneo Fulcrum Point New Music Project in Chicago. There are hints and even partial quotations of a common tag for newly arrived, un- with the Wolf Trap Opera, and her concert actual tunes known to have belonged to the Americanized, and unadapted immigrants. appearances have included an all-Bernstein klezmorim repertoire, as well as other tunes that program with the National Symphony appear to be original but are conceived in the Also heard within this piece are allusions to the Orchestra, and Beethoven’s Ninth Symphony same vein. In the course of his musical song Mazl tov (Congratulations), a prominent with the Seattle Symphony under Gerard development, the composer exploits, reworks, feature at wedding celebrations. The song Schwarz. She is currently a candidate for refracts, and alters these tune fragments in various probably stems from Europe, but it is also one the master of sacred music and certifi cate of juxtapositions and pointillistic reincarnations, of the best-retained customs among traditional hazzanut at the Jewish Theological Seminary. providing mini-cadenzas for the clarinet as well. Ashkenazi weddings in America. She serves as cantor of Congregation Mount Sinai in Brooklyn Heights, New York. The composer added a liturgical parameter with his incorporation of the now ubiquitous

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tune for the last line, or stanza, of the strophic Y’rusha was composed in 1986 in London ROSA Mama, I hear your voice, your healing voice. prayer text avinu malkeinu (Our Father, Our on a Consortium Commission grant from Don’t be frightened, little one. You’re singing for me like long ago. King), as it is sung congregationally toward the National Endowment for the Arts—for Your mama’s here with you. Wrap me in the blanket, wrap me in your the conclusion of Yom Kippur—and of the pre– clarinetists Richard Stoltzman, Michelle song. High Holy Days formal service inaugurating Zukovsky, and Larry Combs. Zukovsky played TOVA The heaviness is lifting. Your voice is growing the daily recitation of the s’lih.ot (penitential) the premiere performances in 1987 with the Damp and cold surround me. strong. liturgy. Although the melody is universal Los Angeles Philharmonic New Music Group. There’s no air left to breathe. Keep singing. Mama, keep singing. among American Ashkenazi synagogues Stock dedicated the piece to the memory of Legs collapse, sprawled fl at on the ground. How can it be that you’re here with me? and at the same time bespeaks an obvious his grandmother, Eva Dizenfeld, who passed Pull the shawl tighter; nothing stops the eastern European modality, its origin remains away at the age of ninety-three while he was shaking. I see Mama’s eyes in Rosa’s smiling face. undetermined. It is not found in any notated writing it. Fever hot on my brow. Rosa’s voice dark and I feel Mama’s soothing touch in Rosa’s hand. European sources. muffl ed. I hear Mama’s gentle voice in Rosa’s Panicked whispers in my ear. whispered song. Another, more contemporary song whose text I am saved by Mama’s spirit. is from the liturgy is also featured prominently: ROSA I am saved by my own child. Ose shalom, the concluding Hebrew passage Mama, what’s wrong? Mama, please get up. I am saved by a miracle, a simple song. appended to the Aramaic full kaddish prayer. Stop it, Mama. Please. You’re scaring me. While the words are therefore liturgical, the EPILOGUE song itself is not and was not so envisioned TOVA by its Israeli composer, Nurit Hirsch. It began No strength to reach for her. No way to TOVA its life as a winning entry in the Hassidic Song comfort her. Perhaps you don’t believe my story. Festival in Israel, held in 1969, and it then Waves of heat, waves of pain. How could a lullaby work such magic? became almost instantly popular in North Drowning deep as darkness closes in. How could a tiny child know how to heal? America as an expression of the post–Six Day No one can save me. A miracle, that’s the only explanation. War atmosphere of enthusiastic optimism No strength is left to fi ght. Just what else could it be? regarding eventual and permanent peace. A little miracle. Despite its nonliturgical origins, however, the I don’t sleep, yet I dream. melody was subsequently adopted in numerous Hallucinations fi ll my mind. American synagogues for the concluding Suddenly I feel Mama’s hand on my forehead, kaddish recitation or at other places in the wiping away the pain. service, for congregational singing. A ghost, a vision, singing sweetly to me.

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Mama dead on the fl oor. I barely see the face of our guide. A LITTLE MIRACLE lived in splendor because my mother had a beautiful voice and loved to sing. Not just on I never got to say good-bye. She doesn’t look at us. She says nothing. Sung in English, Yiddish, and Hebrew No time for feelings now; A blanket. Two candles. Matches. Original story by Bess Weldon (b. 1969), Shabbat or the holidays, but all the time. Even let’s wipe away the tears. A pail of water. A loaf of bread. based on various historical accounts. now, when it’s diffi cult to remember her face, Never let my little one see the pain. She climbs back up the stairs, I hear her voice and I recall the very fi rst song TOVA—a survivor of an eastern European Listen, Rosa, all the noises are gone. and the door above clicks shut. she sang to me. wartime ghetto BERTA—her mother Don’t worry. I am here with you. How can I keep my child alive? shlof mayn kind, ROSA—her young daughter Everything is quiet, no voices in the street. I pace the dirt fl oor. mayn sheyne kleyne meydele. It’s time for us to go away. No sleep. No light. zingen vel ikh dir a kleyn lid. PROLOGUE No time to look back. Tears frozen on my cheeks. shlof mayn feygele, Mama dead on the fl oor. No way of telling night from day. makh tsu dayn eygele. TOVA No time to think back No sun. No moon. dayne mamele iz do mit dir. You’ll ask me how I made it through, how I Yaakov slumped in a chair. The outside world is far away. shlof mayn kindele survived. I hear their footsteps overhead. mayn shtile lindele, If you have courage, that’s what you’ll ask. SCENE 6 I imagine a kitchen, a table, a fi replace, and dayne mamele iz do mit…. How was I different, what was my secret? an oven. Then I’ll ask you, “Do you believe in miracles?” TOVA Their lives must be so normal. [Sleep my child, It’s a very Jewish thing to answer a question Crawl out now, little one, my pretty little girl. with another question! You may not know we’re safe here in the dark. The door at the top of the stairs opens, I will sing to you a little song. what you believe. Take my hand; we only have a and a hand deposits a few crusts of bread. Sleep my little bird; Then I’ll tell you, “I was saved by a miracle. little way to go. I see a thin sliver of light and know it’s close your little eyes. I was saved by a song.” Here’s the big tree and the fork in the path, morning. Your mother is here with you. just like Yaakov told me. When Rosa hears the steps above, she knows Sleep my little child SCENE 1 Look ahead, there’s the farmhouse with the its safe to whisper. my quiet little gentle one candle burning bright. She doesn’t ask what she really wants to your mother is here with …] TOVA This is the place, the place where we will stay. know: We were an ordinary family—a father, a Be a good girl for just a few steps more. Where’s Papa? Where’s Bobbe? TOVA mother, and a daughter. Our house in Poland Why did we leave them behind? When we are forced to move into the ghetto, I knock three times on the farmhouse window. was quite modest. We wore simple clothes. Instead she plays with her blanket as if it were Papa refuses to leave our house. A door inches open. We step inside. On the outside there was nothing remarkable her own child. My husband, Yaakov, and I beg him. Down stairs to the basement. about us. But inside our ordinary house we 8.559422 14 11 8.559422 Stock_LinerNts 9422.indd, Spread 12 of 12 - Pages (12, 13) 3/22/06 11:37 AM

Papa, staying behind is certain death. asher kid’shanu b’mitzvotav v’tzivanu my eyes. everything is fi ne. Only my mother understands. l’hadlik ner shel shabbat. A little miracle. But you don’t work; Mama doesn’t sing; Your Papa’s heart is broken. If only Papa were here. I don’t sleep. Do not ask him. Do not demand. [You are worshipped, O Lord, our God, Did you hear the screams last night? King of the universe, who has made us holy SCENE 3 Look out the window. All the neighbors gone. shlof mayn kind…. through His commandments, and who has Rosa could use that blanket in the street. commanded us to kindle the Sabbath lights.] TOVA Don’t look at me that way. Mama, it just can’t be that simple. Translation: Rabbi Morton M. Leifman I squeeze Yaakov’s hand. I know it’s shameful, but things are getting worse. I sob and hold my father’s hand. He wipes my forehead. She pulls me away and with a single tear TOVA He is more nervous than I. SCENE 5 kisses my father good-bye. Sing, Mama, sing. I need to hear the music. Mama calls out orders and prayers. We walk out of our ordinary house forever. How can a new life start here? TOVA The three of us move into a tiny room. BERTA I yowl with pain. I push to exhaustion. Quiet, little one, be a good girl. A sink. A stove. A table. A chair. My little one, I am not like your father. Rest your head against me. Try to sleep. I don’t despair. I can live with a broken heart, but I cannot In a blur of sweat and tears I see Mama’s Whatever happens, just be quiet. I know my mother can transform this sing with one. eyes go wide. Don’t worry, I am here with you. wretchedness with her song. She breathes deep, as if to start a song, There’s lots of room for us in this cupboard. I know her voice can erase the grayness SCENE 2 and pulls the baby free and places her in my arms. You’ll share your hiding place with me. and the fi lth. My little miracle, my Rosa, my miracle. It’s just like hide-and-seek. Quiet now, I know that music can ease the pain. TOVA not a sound. Two weeks pass, two endless weeks. I am feeling sick. It might be the room. SCENE 4 Papa and Bobbe are packing; Mama no longer sings. It might be the water. I miss my father. we’re going on a trip. On Friday night, I’m sure at sundown Yaakov holds me and tells me that we’re TOVA Don’t let the shouting bother you. I will hear the blessings rise and soar from lucky we’re alive. Yaakov, my love, your smile can’t hide your Cover your eyes. Mama’s lips. I hear the gunshots each night. thoughts. Bury your head beneath my shawl. BERTA Mama doesn’t even hum while she mends They are the same as mine. In four long years Listen to my heartbeat; her apron. inside these walls never mind the noises outside. (She mimes covering her head and lighting the And then it hits me. How could it be possible? you think I can’t read your mind? candles. In a low, steady voice she speaks.) A new life amongst this decay and How can we keep our child alive? How can this be happening? barukh ata adonai destruction? She is so tiny, a china doll. Hiding in a cupboard as the shots ring out. eloheinu melekh ha’olam A new life? Inside me? I see it grow before I watch her play, and for a moment I can feel that Yaakov dead in the chair.

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Milken Archive of American Jewish Music inside.tray 1 NAXOS Playing Time DAVID STOCK (b. 1939) 76:23

© compact disc prohibited. Unauthorized public performance, broadcasting, and copying of this All rights in this sound recording, artwork, texts, and translations reserved. 1. A Little Miracle (1997) 30:03 2006 8.559422 Elizabeth Shammash, mezzo-soprano

Milken Family Foundation Rundfunk-Sinfonieorchester Berlin*

Gerard Schwarz, conductor DAVID STOCK: “I am saved by a miracle, a simple song.” 2. Yizkor (1999) 10:04 David Stock’s dramatic cantata for mezzo-soprano P Seattle Symphony 2006 and orchestra, A Little Miracle, has been described Gerard Schwarz, conductor by its librettist, Bess Weldon, as an “operatic Milken Family Foundation monodrama.” The story is her own creation, but it Tekiah (1987) plays out against the very real and familiar theme

of parent and child hiding and attempting to escape A LITTLE MIRACLE 3. I. Light, airy, propulsive 6:12 during the German war of annihilation against 4. II. Warm, flexible tempo; 8:08 Europe’s Jews. Here, the tale is woven around the Fleeting, scurrying dual miracle of birth itself and of survival through 5. III. With energy, relentlessly 4:59 the faith and courage sustained by the memory of Stephen Burns, trumpet a mother’s song. Pittsburgh New Music Ensemble David Stock, conductor Also featured on this CD are the Judaically inspired instrumental works Tekiah and Y’rusha that

A LITTLE MIRACLE A showcase the virtuosity of the celebrated soloists 6. Y’rusha (1986) 16:28 Stephen Burns and Richard Stoltzman. Made in Richard Stoltzman, clarinet Canada Pittsburgh New Music Ensemble DDD David Stock, conductor

AMERICAN CLASSICS DAVID STOCK: DAVID 8.559422 www.milkenarchive.org www.naxos.com 8.559422 *Coproduction with DeutschlandRadio Kultur and the ROC Berlin-GmbH NAXOS

SStock_Traytock_Tray LinerLiner 9422.indd9422.indd 1 33/22/06/22/06 11:36:0411:36:04 AMAM DAVID STOCK (b. 1939)

American Classics www.milkenarchive.org 8.559422

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MADE IN CANADA P &©2006 MILKEN FAMILY FOUNDATION

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R IT I G IB H H T S O R R P E 1 A Little Miracle 2 Yizkor S C E S R I V 3-5 Tekiah 6 Y’rusha D E T D C A . U P N M A O U C T IS HO H R F T IZE O D G PU YIN BLI OP C PE D C RFOR G AN MANCE, BROADCASTIN